Advances in Social Science, Education and Humanities Research, volume 102 1st International Conference on Technology and Vocational Teachers (ICTVT 2017) Transformation of as Creative For Fashion Design Learning

Nining Tristantie Universitas Negeri Fakultas Teknik Medan, [email protected]

Abstract— Qualified education is one which is able to reflect forward transition to the field of fashion design that becomes the globalization movement dinamically. Clothing Education and the sphere of creative fashion industry.(Tian, Bingqiang, Hu, globalization should provide an implication to the economy Shouzhong.2016) These problems are also in line with the accelaration which needs creative effort to drive either local or reality faced by the creative economy that exists in Indonesia, international market through learning which should contain local based on Department of Trade on the description of the genius. One of the local genius departing from cultural Creative Industry of 2009-2015 that the largest contribution of artifacts as a solid object is the usage of traditional from GDP (Gross Domestic Product) to Creative Industries is in the the Bataknese, North , namely Ulos. Based on literature fashion field of 43.71 Percent based on constant prices. (2008). studies, Ulos as traditional textile can be adapted for design ideas This value is growing every year. Although it continues to which finally could be transformed as a number of creative show an increase, but this condition doesn’t actually touch the contemporary objects. The development starts from motifs on Ulos which is cultivated as printing textile or redefining about aspect of individual Indonesian creativity. This Assumption is character of the base material with the traditional based on the number of potentials that have not been explored, technology as well as weaving machine. Through exploration of local especially from the originality of design departing from the content departs from the cultural richness which inspires in cultural richness in Indonesia. The implication of this problem producing a number of creative textile which finally transferred is the need for quality of human resources for the improvement as fashion design learning. of creativity and innovation that depart from the education especially for the development of design.

The education of Clothing is expected to anticipate the Keywords—Globalization, Transformation, Fashion, Ulos, movement of globalization and develop many lessons that are Designing. full of local cultural values. One of them is ulos. Ulos has a motifs tradition that contains many philosophical meanings. A piece of cloth has a different function in accordance with the I. INTRODUCTION existing motifs on the Ulos. The study of aesthetic of Indonesia has a very multicultural diversity. This makes tradition in contemporary context is important to be done Indonesia has a rich variety of cultural artifacts. One of which as a reflection to arouse national pride of society including is traditional textile that is very prominent with various young generation especially the student of clothing education. production techniques. Production techniques that have been Lifting traditional textiles as a learning, is an opportunity to done as an inheritance in this community makes the character introduce the outside world of the wisdom of cultural values in of traditional textiles as a differentiator from one area to a global context through fashion design by digging and lifting another. Differences can be seen from designs and have the character in the substance of learning Fashion Design. symbolic meaning. Over centuries textiles of this tradition have Learning clothing design is expected to have the character of played an important role in inter island trade and international local wisdom, which is able to explore elements of tradition to trade. (Kahdar, Kahfiati et all; 2010). be presented in the concept of the Present. But in the process there are something to be noticed, especially in digging As a nation that has a diversity of cultures, it needs traditional textiles such as Ulos. challenges to be faced by the world of education to increase human resources that can bridge the needs of the fashion II. THE EXOTIC OF ULOS AND PYLOSOPHY industry by staying based on local values. The fashion industry Exploring how Ulos early presence is to study it of the future requires unlimited creativity and innovation as a historically. Ulos has the meaning of 'selimut (blanket)' that is strategy to survive in globalization. The efforts made by the able to provide warmth to its users. The blanket interpretation Chinese fashion industry which emphasizes on creative design here is not as a denotative warmer. Ulos connotatively means and technological innovation. China uses these two things by the warmth of relationships, by giving Ulos to someone by likening them as two wheels that can pushed strongly to the 'blanketing' or attaching or 'pinning' through traditional rituals.

Copyright © 2017, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 68 Advances in Social Science, Education and Humanities Research, volume 102

Ulos as it is known as a traditional object that has a philosophy accompanied with an increasingly economic, political and not just a . Because in the Batak community, Ulos cultural climate demands for a more individualized lifestyle. At has a symbolic meaning. This is because the motifs contained this level, fashion needs not only at the level of essence but in the weaving is an expression of salvation for a deep hope for mixed with multiple aspects. This is one of the features of ‘the users’. It can be seen how the role of Ulos in Batak daily urban society that is always looking for new designs that are life. Ulos has a very central role, representing the life phase of more in line with contemporary society. (Chunyan, QIU and the community. In this respect Ulos as a form of reverence and Yue, HU.2014). The acceleration of science and technology sacred has become part of a traditional ceremony by giving it to has influenced the form of design and the art of dressing. It someone who is deemed worthy and worthy of receiving it. brings new changes and meanings to the forms of clothing. This gift is based on important life events such as marriage, Anticipating the acceleration in fashion that is supported by the birth, or death. This is done for generations by the ancestors of latest technology (high-tech) and modern fashion has fused the Batak tribe. boundary between multidisciplinary leading technology with the development of clothing art. This provides an awareness for Putting Ulos on the shoulder in the tradition of so-called the designers that the future of the latest clothing technology 'mangulosi' marriage uses special Ulos . Ulos Ragiidup motif is will 'live' in imagination and real science fiction that departs used in Mangulosi ceremony for the bride to bring together the from traditional styles to the direction of clever designing of bride and groom. Mangulosi ceremony for the parents of the clothing. Development of innovative materials, Development bridegroom by the bride's parents using Ulos Pansamot as an of Novelty Patterns of design, Sustainable Design of Clothing expression of welcoming family of women. Similarly, when Art, The use of Eco Friendly Design are some signs of these the mangulosi event of death, moving house or the birth should traits. use Ulos with different motifs. Ulos is used differently depending on the motif of Ulos. This proves that Ulos has Various attempts are made by designers to display become part of the human child as sacred symbols. It is personalized clothing styles by exploring various ideas. The believed that wherever Batak traditions are, mangulosi will concept of fashion with the theme of tradition gives fresh air consistently run. for the fashion industry homeland that is seeking local identity to be presented with a global style. The cutting-edge style The expression which says that the use of Ulos is basely raised by top designers is an inspiration to consumers with used during the activities of traditional traditions has been more affordable options. This phenomenon is also followed by fully accepted reality as Ulos has its contextual meaning that local fashion players using Ulos as part of the creative process. lies precisely on its motifs. But it does not mean that Ulos can be worn just for a mean while. In traditional textiles there is a Not only for the observers of Batak Culture society, the symbolic space that requires interpretation to be able to process debate surrounding the use of Ulos as a fashion material, still elements existing on the custom fabric in order to link between raises a different opinion among the designers who raised the past and present traditions. Therefore, the interpretation of cloth as the idea in the work. There are opinions allowing the Ulos as a textile used as fashion textile requires an in-depth direct use of traditional textiles by combining them with other study to be presented as a new form and a part of contemporary materials. (Interview with Edward Hutabarat, 2015). While design. Traditional textile processing such as Ulos must be other designers do not justify using the material except on addressed wisely while maintaining cultural wisdom. This some permissible motif for considering that have symbolic understanding needs to be studied in the learning of Fashion meaning that accompanies it. (Sihombing, 2017). This Education. This is important for the young generation, condition often leads to debate on how to interpret the Ulos in especially students not only be able to understand the the fashion industry. Discussion with designer Merdi philosophy of textiles culture but also to translate them as Sihombing revealed that Ulos is not necessarily a fashion national identity that could contend in global industry. product. The flexibility of insight and interpretation of the object of custom is a necessity. As it is in his work entitled III. THE TRADITION THEME FOR FASHION TEXTILES 'índigo', which presents a collection that departs on the depth of Ulos has its own exotica. Although using a limited color, its interpretation of weaving in Indonesia such as Ulos and Ulos has a motive character that distinguishes it from other . textiles in Indonesia. Historically weaving Ulos that exists For the Batak community, Fashion that uses Ulos as a today is an ancestral activity performed by the women, worked material and combines it with modern textiles is still reluctant after a crop or in leisure time. History of Batak textiles is the to use as most people are still bound by custom. It will be history of Batak women. In the writings of Niessen, (2009) different if the material is interpreted. The discussion here lies Ulos woven by women and is identified as the center of the not in the question whether the Batak tribe wants to use it or cosmos of the life of Batak women. Anthropological and does not. However, the focus of discussion is the need for social studies explain if weaving activities and women show intelligent and critical efforts in processing traditional textiles ‘joy’. Observing how the fabric of woven into a cloth and adapting them into 'other textiles' which have the form of called Ulos has a profound philosophical meaning. Ulos has the transformation from the initial form. It means that fashion in meaning of 'spirit' and 'soul' on a fabric that has a symbolic the context of cultural heritage must be maintained, passed meaning, debating always come up when it is being made as a down from generation to generation on how to maintain fashion textile. The fashion industry in this country is in a symbolic value in order to become the character of the nation. dynamic and promising condition. Building upon the needs of a fashion industry posits an increasingly market orientation

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It does not mean that fashion creators will not work or limit V. TRANSFORMATION OF TRADITIONAL TEXTILE TECHNOLOGY their imaginative thinking through Ulos. The existence of this FOR LEARNING CLOTHING DESIGN problematic study requires an understanding of Ulos and its Globalization is an economic engineering that makes life of surrounding cultural environment. In the end, fashion creators human is open and the human openness is the key. Quality are required to find works that are noble and giving prestige education is the motto of globalization. (Munadi, 2008). The from the outside world. This is in line with the Strategic Plan of change of economic structure based on agriculture to the Culture (Renstra Ditjenbud, 2013) embodied in the vision of industry-based economy changed the way of life and thinking kemendikbud 2025 on the implementation of culture and its of the nation. This reality can be observed how the global development in education along with the appreciation and community order has done through it and is evidenced by the creativity of the community that all efforts undertaken is to creative economy began in the 1990s that is driven by the prosper the nation. industrial sector called the Creative Industry. (2008) The IV. INTERPRETATION ON FASHION DESIGN increasing of modern industry is requiring more technical personnel at the intermediate level as well as professional Weaving tradition is still carried on in certain areas in technical personnel. Education and training need to be prepared Batak land currently with market orientation not only for the in tailoring its programs with rapid technological advances. needs of custom but also from the fashion aspect. Ulos has This is in line with the demand of creative industries that evolved into a fabric that has an interpretation of the trend of require creativity and innovation in developing fashion design demands as a fashion product. This is one effort made by the and craft based on local wisdom. Daniel L.Pink (2008) reveals local government Ulos cloth is not left by the next generation that in the era of creativity, if you want to go forward, as well as not recognized by other countries. The Ministry of technological capabilities (high-tech) needs to be Industry also intervened by conducting coaching for Ulos complemented with the desire to achieve the level of "high weaving craftsmen in as an effort to develop a concept" and "high touch". High Concept is the ability to create national woven cloth to preserve the cultural heritage of artistic and emotional beauty, recognize patterns and Indonesia. (2016). As addition, the things that need to be opportunities, create beautiful narratives and produce considered in the development of fashion with Ulos fabrics. discoveries that have not been realized by others. High touch is "So, the motive that is displayed is not the Ulos motive used in the ability to empathize, understand the essence of human various ritual ceremonies so as not to damage the sacred interaction, and find the its primary meaning. concept of Ulos itself," he said. Ulos is still used as a cloth with a symbolic function in the Batak community order, as well as Fashion Education plays a role to create human resources the activities of Mangulosi which symbolize the giving of that can essentially have life skills. Referring to the principle of blessing, compassion, hope, and other goodness. Prosser C. A. (1949) on vocational education that matches the reality of the workplace with the availability of learning to Ulos weave today has grown by providing a rich variant of provide opportunities to learners have the knowledge and cloth both in terms of color and motif with songket design. skills. In this context, Clothing Education Department is Songket of Batak is known today is widely marketed in required to follow the development of global fashion market traditional markets in the city of Medan. This songket is an which emphasizes on creativity and innovation in the field of interpretation of Ulos used as fashion textiles, using a fashion design that depart from traditional textile that is Ulos. combination of from some Ulos weaves. The importance of learning Clothing design as a vocational Ulos with original color character has its own value. For education needs to be transformed with technological designers like Ghea panggabean and Ida Royani following knowledge. The approach of technology in question is how Merdi Sihombing is a designer who intelligently interprets how tradition can produce novelty. The cultivation of an Ulos could be used as a design idea that posses Indonesian understanding of traditional textiles includes historical, character that comes from Batak textile tradition. philosophical and symbolic aspects. This learning has Understanding how the philosophy behind motifs in ulos sustainability at the interpretive level of ideas development on weaving by making it a direct clothing or combining it. traditional weaving. The development of ideas can be (Interview with Merdi Sihombing 26 Apr2017). The attempted to touch and consider global issues in the fashion interpretation of Ulos is presented with a touch of modernity, sector such as cultural issues, green textiles or sustainable adapted with traditional weaving to retain the character of the textile. (Antti, 2014). technology of traditional Looms (ATBM) that departs from the traditions of the local community. In the coloring process, Technological approach can help learners in bridging Merdi uses natural colors. The result is a textile craft that the idea of imagination and the idea of reality to produce characterizes the personal character of the designer who still variants of creative design that has not been realized by others has elements of tradition. Similarly, songket originating from that ultimately able to produce originality in the work. In the West Sumatera, known as Pande Sikek, was successfully context of traditional weaving studies, the idea that departs adapted into contemporary textiles with traditional looms from Ulos weave can produce the following innovations: technology using natural coloring. In Ida Royani's clothing 1) Adaptation Traditional on Ulos weaves for a number design adopts the idea of Ulos weaving by transforming the of creative fashion products can be textile into printing. The stiff character of Ulos weft succeeds developed through such Hand Embroidery and gracefully on the design character above the floating , Machine Embroidery using a combination of ethnic colors.

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2) Develop the weaving motif through the technique of textiles such as Ulos weave can be done with interpretive dozen threads and feed to produce new motif patterns approach based on global market orientation. using hand weaving. The use of this technology strongly supports the concept of sustainable textiles, in REFERENCES addition its aims to meet design needs and made based [1] Ainamo, Antti.”Rethinking Textile Fashion”.New Materiality. Smart on aesthetic considerations. The Products, and Upcycling. Swedish Desgn Research Journal. p.53-60. interpretation of Ulos traditional weaving can be 2014] developed into 'green textile' by using environmentally [2] Munadi, Sudji. Transformasi Teknologi pada Pendidikan Kejuruan. Seminar Internasional Optimasi Pendidikan Kejuruan dalam friendly materials by interpreting mainly from the use Pembangunan SDM Nasional dan Konvensi Nasional Ke IV of natural yarn and coloring materials. APTEKINDO 3 – 6 Juni. 2008.Fakultas Teknik Universitas Negeri 3) Developing traditional weaving using machines to Padang produce affordable textiles. [3] Kahdar, Kahfiati et all.. “Tenun. Handwoven Textiles of Indonesia”. 4) Develop new textile with technology to Cita Tenun Indonesia. 2010 produce new motifs and variants. [4] Niessen, Sandra. “Legacy in Cloth. Batak textiles of Indonesia”. Kitlv Press Leiden. p.21, 2009]. VI. SUMMARY [5] Studi Industri Kreatif. “Rencana Pengembangan Ekonomi Kreatif Indonesia 2009-2015”.Departemen Perdagangan RI. 2008. Creative economy has encouraged the domestic industry [6] Prosser, C.A.& Qigley, T.H., 1949.Vocational Education in a especially in the field of fashion to continue to work to Democracy.American Technical Society, Chicago Illonois. improve creativity and innovation in the field of industry. The [7] Chunyan, QIU and Yue, HU. “The Research and Development of the demand to compete in the Global Market is to explore the Future Fashion Design”. American International Journal of tradition culture that is used as the identity of the nation's Contemporary Research. Vol. 4, No. 12; December 2014. work. Fashion Education plays an important role in producing [8] ______.2016. Kemenprin Lakukan Pembinaan Bagi Pengrajin human resources that are able to support the creative industry Tenun Ulos.20 Oktober. bisnisreview.com/review-4429--kemenprin- based on local wisdom. Fashion Design emphasizes the lakukan-pembinaan-ba... – importance of innovating for traditional textile learning, Ulos. [9] ______.2010-2014. Renstra Kebudayaan Visi, Misi, tujuan dan Ulos has power as a style that has an original character. The Sasaran bidang kebudayaan- Ditjen…kebudayaan.kemdikbud.go.id?,,,?Resntra-Ditjenbud- use of ideas that depart from Ulos as a fashion material can be 07.01.2013b.p…Acces 11 Dec 2016. done if it can understand the essence of the textile tradition. The transformation of technological concepts in traditional

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